Jack

Apart from a few rare exceptions I have only used my cabs as traditional wedges. It gets all the bass we need as well as the other things that I need to hear.

I dont have the Triton anymore but I have the Cordial CIW1 and it's great. You can get a lot of DI in something the size of an adapter these days.

The answer is Subaru Outback.

For the record, with a digital mixer you can record each track individually. As in, you could mic up and record all the drums but just not put most of them through the foh.

You might google 'qsc protect mode 4'. I've got a thread on TB, but it's bitten a few people. Free fix if you get it before hand, otherwise you're shipping a speaker to qsc in Buckinghamshire at your own cost then waiting weeks.

Stuck record alert: update the firmware!

You know, that's a valid point. I wanted my pair of speakers to be able to be a spare pa when needed, but if it was just for monitoring on a stage I would have gone for the 10.2. Hell, to be honest if I'd know how infrequently they'd have been either pa or room-filling backline I might have something from Thomann own brand or similar. Covering the tiny stages I play with enough bass to be heard is surprisingly undemanding.

K12.2 here. Normally mine are proper wedges, connected to the mixer rather than my bass amp. I just keep it in the standard 'default' setting but I do use the hpf in the mixer. I start at 120Hz (as that's where our subs cross over and I'm usually close enough to hear lots of sub) and go up and down depending. Very rarely, when I do use it straight from the Helix as backline, I set a 50Hz hpf on the Helix and hope for the best. Whilst I'm sure that the 10.2 are slightly different, the traces of the K12.2 in its various modes can be found on Pro Sound Web. If the 10 is anything like the 12, then the bass amp setting is no bassier than the default one, in fact it's slightly flatter. Oh, and update your firmware. Those speakers can brick themselves!

Fifth, root, fifth, root?

Ah, I see you're unaware of how he runs the company. Allegedly. The contents of this post are the opinions of Jack and should not be taken as representative of the opinions of Basschat or All The Good Names Are Taken Ltd.

Ahhhh OK then. Well there are several threads on he covering what you describe. The term you want is FRFR. I think the Thomann stuff (branded, 'The Box') and the Headrush are well liked in the budget space. Side note. Be a aware that tone changes a LOT with volume. Unfortunately you can't really set your tone at home then just expect the knobs in the same position at the gig to sound the same.

Nonsense. Plenty of people on here, myself included, like to pretend that this stuff is complicated but it isn't. Buy a small Ashdown or TC electronic combo. Maybe a 12" or 15" if you can carry it. Just play.

Just be wary of making sure that the qsc stay updated, keep on top of the firmware! That aside, they're fantastic. Either as a 'bass amp' backline or just as a wedge.

And then the 4 string version of the 5 string Stingray was called the Sterling. That's the USA Sterling mind, not the Sterling Stingray range, which aren't built in the USA.

Big Poppa' seems to want to put his name on everything, even if it does confuse people. EBMM stuff can be impossible to fathom. There was a Stingray 4, that led to five string Stingray, which had different electronics to the 4. So they made a 4 string version of the 5 string Stingray, which they called the Sterling. Then, when the time came to start building instruments to overseas they called them all Sterlings. So you can have a USA Stingray, or a Sterling Stingray. And you can have a USA Sterling, but there is as of yet no Sterling Sterling. Pretty much their first overseas instrument was essentially a passive Stringray, they called it the SUB. They now use the SUB name for the whole line of cheapest basses they make. They are not passive.

Thee amp is probably adding in quite a bit of its own flavour, don't be fooled by the knobs being at noon, that doesn't mean much. Plenty of people using pa cabs as stage amps. I've got a pair of QSC K12.2s, people using everything from the budget to the esoteric.

After years of cheap ones I bought a K&M (in my case a 25600) a few years ago and there's just no going back.

This is timely, thanks. Subbed.

I know, right! If the Behringer ever let me down I'd move to the Allen and Heath stuff, which has some similar functionality, but the Behringer lives on and I don't care enough to upgrade.

I'm not sure it's quite what you're asking but our drummer owns the RCF 712 and as a band we own the 732. As pa cabs they're not too different in sound (maybe I'm deaf) but the 732 are louder. As a bass stage amp they're a world apart, much more usable bass in the 732.

That's the problem though, if it has one knob labelled 'compression' you might get the best out of it, but its best might not be what you're looking for.

That'll teach me read and post after midnight.

Update the firmware. 👍

They sound like Comic Sans! Actually I've heard they're great amps. You can occasionally spot one on stage right next to Aguilar gear.

My first thought too, but it's only 2U high. I think you're right! Cheers man.